MUSIC

“Music is the highest art and to those who understand it is the highest
worship.”- “Swami Vivekananda”.
Music is one of the God- given gifts to the human race and
one among the Upa- Vedas (Gandharva vedam) and Lalitha kalas. It is of
universal appeal influencing not only the eminent people and enlightened
personalities but also the layman, the beast and the plants alike. It is observed
that a serpent could feel the charm of music. Even the infant, the cow and the
like are captivated by the sound of music. It is a language of pure sound itself
and is capable of expressing subtle thoughts and refined ideas.
 Indian music has the rich tradition culture from immemorial. The tradition (or)
Sampradaya handed down to us through Guru- Sishya parampara and also by aural
tradition. Sublime ideas and delicate shades of feelings can be effectively portrayed
through the medium of music. We find that music has a humanizing influence and it
is a powerful factor in therapy. i.e. Ananda bhairavi reduces blood pressure and
Kalyani rejuvenates etc.. Bhairavi raga gives rebirth - example: Nampaduvan who
was one among the 12 Alwars who used to offer solely Bhairavi ragam on every
ekadasi day at Tirukurungudi Temple. Once he was caught hold of by a Brahma
rakshas while he was proceeding to the temple . As per the request of the Rakshas,
Nampaduvan started performing the Bhairavi ragam ( Kousika pan) which gave relief
of curse to the Brahma rakshas and he got back his original form of King. Offering
Music is a proud and privileged accomplishment of a refined person. Thus music is
the most important means of revealing culture, tradition and the personality of the
people from the memorable past.
The saints and musicians of ancient India whose spiritual genius had undoubtedly
stood the test of time in spite of several odds served as the pillars supporting the
great edifice of Indian thought. They evolved and developed an easier path for their
emancipation through ‘Devotional music ‘, . The Bhakti movement insisted that
chanting God’s name is the only means of attaining salvation in this Kaliyuga.
Namasankirtana is a form of Mass- prayer , an occasion for a religious – cum social
gathering seeking universal welfare.
 SAMPRADAYA BHAJAN PADDHATI
1 Pundarikams
2 Hari namavali
3 Dhyana Shlokams
4 Ganapathi Dhyanam
5 Todaya mangalam
6 Guru Dhyanam
7 Ashtapadi
8 Tarangams, Brahmendral, Purandaradasar

Latter Half of Bhajan paddhati

10 Thyagaraja Swami and other composers
11 Bharathiar and other latter day composers
12 Devotional songs followed by Namavali and
Pundarikams
In a Karnatik music concert, the performer presents compositions, alapana, niraval
and kalpana svaras.
Kalpita sangita:
The “compositions” which are presented in a concert are pre-composed and come
under the head “Kalpita Sangita”.
The following musical forms are rendered in the head Kalpita Sangita.
Abhyasa Gana:- Sarali varisai, Janta varisai, Dhatu varisais, Hechchu Sthayi varisais,
Daggu Sthayi varisais, Alankaras, Gitas, Varnams (Akara sadhakam is also taught).
Manodharma Sangita:
Alapana, Niraval and Kalpanasvara come under the heading “Manodharma
Sangita”.
Raga Alapana:
This is improvisation of a particular raga, in various octaves. It is also referred to as
raga essaying.
Niraval:
The term ‘Niraval’ literally means filling up. In musical parlance this term is used in
the sense of improvisation done to a meaningful line of sahityam taken from a
composition, usually a kriti.
Kalpana Svara:
Svara kalpana is nothing but improvisation of svara passages, sung to a particular
theme. The theme is repeated after completion of a cycle of svaras. Makutam for
the svara passages also adorn and add beauty.
 SAIVA SAMAYA NALVAR

‘ Nandi Namam Namacivaya yenum candaiyal Tamizh Gnana cambandan col

cindayal magizhndu yetta valtar banda pasam arukka valtargale”. Says the divine
child Tirugnana cambandar in the above stanza of Namacivaya Tiruppadhigam.
This stands testimony for the “hymnal performance” with candam- candaiyal and
melody’ In the last stanza of “ Ennapunniya ceidanai Nenjame”. He quotes “
Gnana cambandan iyattriya Tamizhmalai Adarittu Isaikkattru vallar solakkettu
ugandavartammai Vadiya vinai Marumaikkum Immaikkum varuttam vandadai
Yaven.
Those who patronize and practice the above Tevara hymns will be freed from
the sins. Tirugnanacambandar composed his padigams with his
swanamamudra as Karaikal ammaiyar.
The ‘Muthamil’ has 3 fold divisions – Iyal- Isai & Nataka tamil. Isai tamil , a
performing art is a combination of music & poetry or sahitya which inspires the
lay and learned alike.
Tol kappiyam , the earliest work on Tamil grammar is dealing with music
exhaustively. It consists of three chapters eluttu (orthography) col (syntax)
and Porul (poetics), while framing the grammar for the above 3 chapters the
Tolkappiyar also forms the grammar for musical notes.
The eight togai nools (or)works are in ‘ agaval ‘ metre and paripadal ,
kuruntogai, kalitogai Aynkurunuru are more suited for singing with tala.
Silappadhikaram – This work is a treasure trove for music and allied
arts. It consists of 30 ‘Kadai’ meaning is that which is narrated (or) rendered
with music. The other Kappiyams like Kamba ramayanam also consists of
several musical form such as Viruttams.. Ceevagachinthamani and
Periyapuranams of Sekkizhar have enormous musical forms to be rendered.
Cittrilakkiyams like Kuravanji, Pallu, Parani , Pillai Tamil, Kalambagam,
Tudu, ula, madal, .- we find musical forms like viruttam, kirtana kanni cindu
that are to be rendered in different time measures.
The contribution of Tevaramoovar- Adimoovar- Tirugnana sambandar,
Tirunavukkarasar and Sundaramoorthy collectively kown as Tevaram. – the
garland of songs that adorn the Lotus Feet of Lord Siva. Tevaram and other
tirumaurai – 12 Nos called Pannirutirumurai and Divyaprabandam are sung with
tala & without tala i.e. layangam & suddhangam.
The ancient tamil works mentions four types of tempos- Mudanadai, varam,
koodai & Tiral. Thevaram is grouped under varapadal. The hymns are rendered in
kattalai metre.
 Tevaram and other Tirumurai – 12 Nos called Pannirutirumurai.

Tirumaurai Contribution Composer

1.2.3- Thevaram also called Tirukadaikappu Tirugnana sambandar/, Aludaipillai
4,5,6 Thevaram also called Thevaram Tirunavukkarasar/ appar/ aludai
arasu
7 Thevaram also called Tirupattu Sundara murti / aludai Nambi
8 Thiruvachagam Manikavachagar/ also includes
Thirukovaiar aludaiya adigal
9 Tiruisaipa& tirupallandu 9 composers
10 Tirumandiram Thirumoolar
11 Mootha thirupadigam Karaikal ammaiyar
Arpudathiruandadhi
Irattaimanimalai
Ponvannattandadi Cheraman perumal
Moothanayanar thiruirattai manimalai Kapilar
Thirumurugatrupadai Nakkirar

Periyapuranam / Tiruthondar puranam Chekkizhar

Thirumurais are classified in to three groups, panmurai, talamurai,
Adanganmurai. The Sambandar’s Thevaram could compared to Vatsalya Bhava.
i.e. the relationship of mother and child. The same Bhava is experienced in the
composition of Shyamasastri one of the tiruvarur trinity.
Thirunavukkarasar’s tevaram is in Dasa marga. i.e. Master & servant. This is
experienced in the compositions of saint Thyagaraja, one of the tiruvarur trinity.
Sundarar Thevaram is Sakhya Bhava i.e. friend . This is reflected in the
compostions of Sri Muthuswami Dikshitar, one of the tiruvarur trinity with
Mantra, Thantra and yantra kirtanas.

Tevara hymns are rendered according to time theory i.e. gana kala niyama.
The pans are classified as pagal , iravu and podupan.
The pagal pans are to be sung in day time. To quote a few
Puranirmai – Bhoopala raga
Nattapadai - Natakurinji raga
Nattaragam- Pantuvarali raga
indalam - Mayamalava gowla/ Hindolam
Takkesi - Kambodhi raga
The Iravu panns are to be sung at night
1. Megaragakurinji - Nilambari raga
2. Andalikurinji - Shama
3. Seekamaram - Nadanamakriya
4. Thakka ragam - Hamsavinodhini
5. Kurinji - kurinji

Podhu pan are the panns that are to be sung at any time –
1. Sevvazhi- Yadukulakambodhi.
2. Senthurutti – Madyamavati ( the best suited time is afternoon)
Gnansambandar sang Puranirmai ( Bhoopala ragam) when he
Reached Madurai early in the morning. The Bhava atpudam is well brought out
in the padigam Mangaiyarkarasi.
Manikavachagar’s Thiruvempavai& Thirupalli yezhuchi is sung in this pan.
The musical forms Thirukurunthogai, Thirunerisai, Thiruviruttam and
Thiruthandagam were sung by Appar without panns

Manikkavachagar has composed Tirupponusal in the raga Kurinji.

The musicology also includes the Physics of Music dealing with facts relating to
pitch , intensity, timbre, sruthis, swaras, laws of vibration of stretched strings, laws
of vibration of air columns, direct law, inverse law and facts relating to ragas etc.
 SIRKALI MOOVAR

Compositions:
Tevaram, Tiruvachagam, Divyaprabhandam , Thiruppugazh, TiruArutpa, Sidhdhar Padalgal,
Compositions of Sirkazhi Muvar, Gopalakrishna Bharathi, Mayuram Vedanayakam Pillai,
Uttukadu Venkatakavi, Purandara dasar, Tyagaraja Swami, Muttusvami Dikshitar and Syama
Sastri and his descendents and Svati Tirunal.

TIRUVARUR TRINITY
 MAHAKAVI BHARATHIYAR

Folk musical forms:

Kavadi Chidhu and Kummi, Talattu, Etrappattu, Nadavuppattu, Oosal, Ammanai
Musical forms in Harikatha and Bhajana:
Panchapati, Todayam, Mangalam, Saki, Ovi, Dindi, Abhang and Bhajans, Compositions of
GuruTrayam, Ashtapadi, Tarangam, Compositions of Badrachala Ramdoss, AnnamaCharya
and Haridasas of Karnataka.
GURUTRAYAM
NARAYANA TIRTHA

HARIKESANALLUR MUTHIAYA BHAGAVATHAR-

UNCHAVRITTI HARIKATHA EXPONENT
 Musical Instruments
Yazh

FLUTE VEENA

VIOLIN

Instruments like, Yazh, Violin, Veena, Tambura,

Mridangam, Flute,Ghatam and Ganjira.
 Folk instruments like Magudi, Dappu, Tuntina,
Temple instruments like Nagasvaram, Maddalam,Pancha Mukha vadyam, Kuda Muzha, Idakka, Jenda,

NAGASWARAM TAVIL TEMPLE BELL

Hindustani musical instruments Like Sitar, Sarod, Bansuri, Tabla, Santoor are studied.

SAROD
SITAR
 Raga Classification:
This includes Pans, Janaka ragas, Jayna ragas, Upanga ragas, Bhashanga ragas, 72
Mela kartha Scheme and Raga Lakshana-s.
Tala System:
35 Tala scheme, Varieties of Chapu tala and tala dasa pranas are covered.
Musical Prosody:
This includes yadugai, Monai,prasa, yati, yamakam and other isai anigal.
Physics of Music:
This includes topics lie sound transmission, dvigunatva, 22 strutis, recording
and transmission of sound through media like Radio, tape recorders, Television,
internet and E-learning, Websites and Blogs etc.
Carrier Options in Music :
Music provides opportunities to become media Teachers, Media persons,
Playback singers, Journalists, vocalists accompanying Bharathanatyam
performances, Announcers, News Readers, experts in music recording etc,
according to their personal preferences.